Flute Solo - Level 1 - Digital Download SKU: A0.1014855 By Evanescence. By Amy Lee, Ben Moody, and David Hodges. Arranged by Josiel Oliveira. Multicultural,Pop,Rock,World. Individual part. 1 pages. M das Melodias #619484. Published by M das Melodias (A0.1014855). Sheet music for Flute My Immortal by Evanescence. Easy sheet music. * myimmortal * evanescence * sheetmusic * hit song * flute * I'm so tired of being here Suppressed by all my childish fears And if you have to leave, I wish that you would just leave 'Cause your presence still lingers here And it won't leave me alone These wounds won't seem to heal This pain is just too real There's just too much that time cannot erase When you cried I'd wipe away all of your tears When you'd scream I'd fight away all of your fears And I held your hand through all of these years But you still have all of me You used to captivate me by your resonating light Now I'm bound by the life you've left behind Your face it haunts my once pleasant dreams Your voice it chased away all the sanity in me These wounds won't seem to heal This pain is just too real There's just too much that time cannot erase When you cried I'd wipe away all of your tears When you'd scream I'd fight away all of your fears And I held your hand through all of these years But you still have all of me I've tried so hard to tell myself that you're gone But though you're still with me I've been alone all along When you cried I'd wipe away all of your tears When you'd scream I'd fight away all of your fears And I held your hand through all of these years But you still have all of me.

Tenor Saxophone Solo - Level 1 - Digital Download SKU: A0.1014861 By Evanescence. By Amy Lee, Ben Moody, and David Hodges. Arranged by Josiel Oliveira. Multicultural,Pop,Rock,World. Individual part. 1 pages. M das Melodias #619513. Published by M das Melodias (A0.1014861). Sheet music for Tenor Saxophone My Immortal by Evanescence. Easy sheet music. #myimmortal #evanescence #sheetmusic hit song #saxophone #tenorsaxophone #tenorsax I'm so tired of being here Suppressed by all my childish fears And if you have to leave, I wish that you would just leave 'Cause your presence still lingers here And it won't leave me alone These wounds won't seem to heal This pain is just too real There's just too much that time cannot erase When you cried I'd wipe away all of your tears When you'd scream I'd fight away all of your fears And I held your hand through all of these years But you still have all of me You used to captivate me by your resonating light Now I'm bound by the life you've left behind Your face it haunts my once pleasant dreams Your voice it chased away all the sanity in me These wounds won't seem to heal This pain is just too real There's just too much that time cannot erase When you cried I'd wipe away all of your tears When you'd scream I'd fight away all of your fears And I held your hand through all of these years But you still have all of me I've tried so hard to tell myself that you're gone But though you're still with me I've been alone all along When you cried I'd wipe away all of your tears When you'd scream I'd fight away all of your fears And I held your hand through all of these years But you still have all of me.

A Clarinet Solo - Digital Download SKU: A0.1014850 By Evanescence. By Amy Lee, Ben Moody, and David Hodges. Arranged by Josiel Oliveira. Multicultural,Pop,Rock,World. Individual part. 1 pages. M das Melodias #619482. Published by M das Melodias (A0.1014850). Sheet music for Clarinet in A My Immortal by Evanescence. Easy sheet music. #myimmortal #evanescence #sheetmusic hit song #clarinet I'm so tired of being here Suppressed by all my childish fears And if you have to leave, I wish that you would just leave 'Cause your presence still lingers here And it won't leave me alone These wounds won't seem to heal This pain is just too real There's just too much that time cannot erase When you cried I'd wipe away all of your tears When you'd scream I'd fight away all of your fears And I held your hand through all of these years But you still have all of me You used to captivate me by your resonating light Now I'm bound by the life you've left behind Your face it haunts my once pleasant dreams Your voice it chased away all the sanity in me These wounds won't seem to heal This pain is just too real There's just too much that time cannot erase When you cried I'd wipe away all of your tears When you'd scream I'd fight away all of your fears And I held your hand through all of these years But you still have all of me I've tried so hard to tell myself that you're gone But though you're still with me I've been alone all along When you cried I'd wipe away all of your tears When you'd scream I'd fight away all of your fears And I held your hand through all of these years But you still have all of me.

Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.747204 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Octavo. 11 pages. Christopher Brown #4725447. Published by Christopher Brown (A0.747204). About the song: Satan has been decisively defeated. In every battle with the devil, 1 John 4:4 assures us that God is greater. When we feel trapped in sin, God is greater. When we are tempted to doubt, God is greater. When we face trials, God is greater. When we experience great loss or disappointment, God is greater still. He is able to strengthen, help, comfort, and uphold our souls by His power and might regardless of the circumstances in which we find ourselves. This is reason for hope, joy, and praise even in the darkest valley.Can be performed with piano accompaniment only, OR with additional band members, OR with full orchestra*.Please Note:You can purchase individual copies of the vocal part separately on Sheet Music Plus. Performance of this piece requires the purchase of one vocal score per singer.*Full orchestration and parts also available on Sheet Music Plus.Included in your Purchase:Piano AccompanimentLyrics:Verse 1When it seems there’s no way out,He can make a way.In the darkness of my doubt,He’s the light of day.Ev’ry trial that I face,Comes with His mercy and His grace.Pre-Chorus 1Greater is He Who lives in me.Stronger than the plans of ev’ry enemy.From sin and death I’ve been set free.He set me free!Chorus 1This is my hope when I’m walking through the valley of the shadow.This is my joy in the sorrow and the pain.This is the Truth when I’m caught up in the middle of the battle.Greater is He that is in me.Verse 2When my world begins to shake,He’s unshakable.When my circumstances change,He’s unchangeable.In ev’ry storm and crashing wave,My God is powerful to save.Pre-Chorus 2Greater is He Who lives in me.Stronger than the plans of ev’ry enemy.From sin and death I’ve been set free.He set me free!Chorus 2This is my hope when I’m walking through the valley of the shadow.This is my joy in the sorrow and the pain.This is the Truth when I’m caught up in the middle of the battle.Greater is He that is in me.Bridge 1There isn’t any other,Who has the power, power.The King of Kings, and Lord of Lords,We lift Him higher, higher.Bridge 2We raise our voices louder,Our God is stronger, stronger.The King of Kings, and Lord of Lords,We lift Him higher, higher.Chorus 3This is my hope when I’m walking through the valley of the shadow.This is my joy in the sorrow and the pain.This is the Truth when I’m caught up in the middle of the battle.Greater is He,Greater is He,Greater is He that is in me.

Small Ensemble Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.978194 Composed by Jason A. Heald. Contemporary. Score. 16 pages. Call of the Wild Publishing #6265333. Published by Call of the Wild Publishing (A0.978194). THREE LABE SONNETS for mezzo-soprano and piano is a collection of settings by Louise Labé, (1520-1566), a female French Renaissance poet. Labé was fluent in Latin and Italian, and a trained musician. She wrote twenty-four sonnets.  TRANSLATION Sonnet VIII - I Live, I Die I live, I die, I burn with fire, I drown. It matters very little what I feel; All life is now too real, now too surreal; Joy comes and endless boredom weighs me down, And suddenly I laugh and then I cry; With grief and bliss I’m weeping for the past; Good feelings go away and yet they last, And suddenly I bleed and then I sigh. That’s how it goes. Strange, ever changing love Has worn me out. I wish I were removed From such a star-crossed fate! I need a truce With Lady Luck. Again and yet again, Her wheel is spinning madly to produce This wanton, wild, intense, exquisite pain.     Sonnet XVIII - O Kiss Me O kiss me, kiss me, re-kiss me, and kiss! Be reckless, impudent, hot-headed, bold! O woo me! Pursue me! Kiss me like this: And I’ll give back fifty as hot as red coals. There, is it hurting? Come, let’s soothe the pain. I’ll give you sixty others just like these. And so we’ll kiss again and then again, While we enjoy each other at our ease. I know there’s fire within your unshaped clay, And so, allow me, love, to share my happiness: O let’s make burning passion rule today. I’m fond of doing what I love to do, Yet cannot feel supreme delight unless I have my other wild encounters, too.     Sonnet XIV - As Long As Tears As long as tears can well up in my eyes I’m saddened that our nights are marked by pain. And now my voice expresses once again A plaintive melody I’ve improvised. As long as I can pluck the lute, I try To sing about your charms in my refrain. As long as I can think, my fevered brain Is burning with an ardent zeal. I cry And cry a hundred thousand times for you. But when I feel my whirling thoughts grow still, And when both hand and voice won’t work their will, Because your treachery is piercing through My heart, I’ll know there’s just one final way. I’ll ask for Death to darken that bleak day.

Full Orchestra - Level 3 - Digital Download SKU: A0.747202 Composed by Christopher R. Brown. Christian,Gospel,Praise & Worship,Sacred. Score and parts. 101 pages. Christopher Brown #4725429. Published by Christopher Brown (A0.747202). About the song: Satan has been decisively defeated. In every battle with the devil, 1 John 4:4 assures us that God is greater. When we feel trapped in sin, God is greater. When we are tempted to doubt, God is greater. When we face trials, God is  greater. When we experience great loss or disappointment, God is greater still. He is able to strengthen, help, comfort, and uphold our souls by His power and might regardless of the circumstances in which we find ourselves. This is reason for hope, joy, and praise even in the darkest valley.Can be performed with piano accompaniment only, OR with additional band members (rhythm chart included), OR with full orchestra.Please Note:You can purchase individual copies of the choral score separately on Sheet Music Plus. Performance of this piece requires the purchase of one choral score per singer.Included in your Purchase:Full ScoreChoral Score (SATB with Solo)Piano AccompanimentRhythm ChartDrumsetFlute 1, 2Oboe (opt. Soprano Sax doubles)Clarinet 1, 2Horn 1, 2 (opt. Alto Sax doubles)Trumpet 1, 2Trumpet 3Trombone 1, 2 (opt. Tenor Sax doubles)Trombone 3/ Tuba (opt. Bari Sax doubles)Percussion 1, 2HarpViolin 1, 2ViolaCelloString Bass (opt. Bass Clarinet/ Bassoon doubles)Lyrics:Verse 1When it seems there’s no way out,He can make a way.In the darkness of my doubt,He’s the light of day.Ev’ry trial that I face,Comes with His mercy and His grace.Pre-Chorus 1Greater is He Who lives in me.Stronger than the plans of ev’ry enemy.From sin and death I’ve been set free.He set me free!Chorus 1This is my hope when I’m walking through the valley of the shadow.This is my joy in the sorrow and the pain.This is the Truth when I’m caught up in the middle of the battle.Greater is He that is in me.Verse 2When my world begins to shake,He’s unshakable.When my circumstances change,He’s unchangeable.In ev’ry storm and crashing wave,My God is powerful to save.Pre-Chorus 2Greater is He Who lives in me.Stronger than the plans of ev’ry enemy.From sin and death I’ve been set free.He set me free!Chorus 2This is my hope when I’m walking through the valley of the shadow.This is my joy in the sorrow and the pain.This is the Truth when I’m caught up in the middle of the battle.Greater is He that is in me.Bridge 1There isn’t any other,Who has the power, power.The King of Kings, and Lord of Lords,We lift Him higher, higher.Bridge 2We raise our voices louder,Our God is stronger, stronger.The King of Kings, and Lord of Lords,We lift Him higher, higher.Chorus 3This is my hope when I’m walking through the valley of the shadow.This is my joy in the sorrow and the pain.This is the Truth when I’m caught up in the middle of the battle.Greater is He,Greater is He,Greater is He that is in me.

Woodwind Ensemble,Woodwind Quartet Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - Digital Download SKU: A0.568938 Arranged by Thomas Graf. Contemporary. 25 pages. Thomas Graf - the-hit-factory.com #3430243. Published by Thomas Graf - the-hit-factory.com (A0.568938). La Paloma  is a popular Spanish song that has been produced and reinterpreted in diverse cultures, settings, arrangements, and recordings over the last 140 years. The song was composed and written by the Spanish composer from the Basque region Sebastián Iradier (later Yradier) after he visited Cuba in 1861. Iradier may have composed  La Paloma  around 1863, just two years before he died in Spain in obscurity, never to learn how popular his song would become.  La Paloma  belongs to a genre of songs called  Habaneras,  a musical style developed in 19th-century Spain that is still today very much present in the form of folk songs and formal compositions, particularly in the Northern Basque Region and East Coast (Catalonia and Valencia) regions of the country. Like all  Habaneras,  its characteristic and distinct rhythm reflects the fusion of the local Cuban songs that the Spanish sailors of the time brought back with them from their travels to the island, with the rhythm structure of the flamenco tanguillo gaditano (original from Cádiz, Andalusia). Very quickly  La Paloma  became popular outside of Spain, particularly in Mexico, and soon spread around the world. In many places, including Afghanistan, Hawaii, the Philippines, Germany, Romania, Zanzibar, and Goa it gained the status of a quasi-folk song. Over the years the popularity of  La Paloma  has surged and receded periodically, but never subsided. It may be considered one of the first universal popular hits and has appealed to artists of diverse musical backgrounds.[1] There are more than one thousand versions of this song, and that together with  Yesterday  by the Beatles, is one of the most recorded songs in the history of music.  ï»¿Instrumentation:  Soprano (Alto), Alto, Tenor, Baritone           ï»¿ Listen to the recording - a challenge for your ensemble.  Please don't forget to review your purchase - you will help other musicians to choose the perfect arrangement for their ensemble. Thank you very much!              ï»¿Check out our latest uploads:  http://www.sheetmusicplus.com/publishers/thomas-graf-the-hit-factory-com/smp-press/3001412+1303131?N...                      Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic              ï»¿Video: https://www.youtu.be/qR5PI78fGqM   .

String Ensemble,String Trio Cello,Viola,Violin - Level 2 - Digital Download SKU: A0.802693 Composed by Anon. or Fernando Sor, or Narciso Yepes. Arranged by Shigeo Ida & Peet du Toit. Contemporary. Score and parts. 6 pages. Peet du Toit #6513457. Published by Peet du Toit (A0.802693). Romance Anónimo (Anonymous Romance) is a piece for guitar, also known as Estudio en Mi de Rubira (Study in E by Rubira), Spanish Romance, Romance de España, Romance de Amor, Romance of the Guitar, Romanza and Romance d'Amour among other names.Its origins and authorship are currently in question. It is suspected of originally being a solo instrumental guitar work, from the 19th century. It has variously been attributed to Antonio Rubira, David del Castillo, Francisco Tárrega, Fernando Sor, Daniel Fortea, Miguel Llobet, Antonio Cano, Vicente Gómez, and Narciso Yepes. The Anónimo (anonymous) part of its name has been incorporated over the years due to this uncertainty. The question of authorship has probably been propagated by three main reasons: the lack of claim by its true author, the desire to avoid paying copyright fees, and the desire of publishing companies to claim the lucrative copyright of this world-famous piece.The style of the piece is that of the Parlour music of the late 19th century in Spain or South America, having a closed three-part form: the first in the minor key and the second being in the major key, with the third being a restatement of the first.Narciso Yepes (1927 - 1997) interpreted and is listed as the author of the piece in René Clément's 1952 film Jeux interdits (Forbidden Games). The popularity of the film gave the piece worldwide fame. Yepes currently has the copyright of this composition in Spain although recordings and manuscripts of this song predate 1952. Newer publications show Yepes as the arranger and the piece being of anonymous authorship, or authored by Fernando Sor.The official statement from Narciso Yepes and the Yepes heirs is that Narciso Yepes, being a young boy, originally composed the piece for his mother when he was about seven years old (c.1934) and soon thereafter performed it between acts at the Teatro Guerra, in Lorca, Spain. Some time later, he recounts, when he was thirteen years old he attended a performance in Valencia and heard his composition performed by another guitarist, who indicated the authorship as anonymous. Yepes contends that the melody had been plagiarized (with some changes to the arrangement) by someone who, he assumes, must have attended that first performance. However, Yepes was born 1927 and cannot be the author of the work, since it was already recorded in 1900 and published before 1925 (possibly 1913) by J.A. MEDINA e HIJO; and in 1919 in themethod of Pedro Mascaró y Reissig, etc. Vicente Gomez (1911-2001) published it and performed it in 1941 in the Hollywood movie Blood and Sand with Tyrone Powerand Rita Hayworth, also attributing authorship of the song to himself. Anyway, the piano arrangement of the brilliant Shigeo Ida caught my attention and I decided to rework it somewhat into this trio for strings. Enjoy!

Soprano voice,Vocal Solo - Level 4 - Digital Download SKU: A0.873044 Composed by Sally Whitwell. Contemporary. 12 pages. Sally Whitwell #6130719. Published by Sally Whitwell (A0.873044). If you really pushed me to make a call, Mussorsgky’s Pictures at an Exhibition would be one of my favourite pieces in the classical repertoire. Somewhat outrageously, for a pianist, I prefer the colours and textures of the orchestrated version. I reasonably regularly listen to it, especially in transit. But to be honest, it’s not the kind of music that I perform all that often i.e. music by dead, white, male composers. I mean, it’s 2020 and as the meme says I can’t believe I still have to protest this sh*t. And I feel it too for those in the visual art world. I mean, things are a good deal better over there in contemporary art world, where women are exhibited regularly and everyone seems to embrace it without a fuss. As for women artists from centuries gone by, it’s less good news but they’re working on it. I’m reminded of the situation daily as my older brother, who is excellent at choosing gifts thoughtfully, gave me some Guerrilla Girls merchandise which I use as an iPad cover. Entitled Advantages of Being a Woman Artist, it’s a list of truths that’s pretty relatable for any creative woman. My favourite bit - Being reassured that whatever kind of art you make it will be labeled feminine. Ooft. Too real. And so I conceived of this song cycle as a kind of gift for those fighting the traditional, patriarchal structures of the entire creative sector. Three songs, inspired by three works by three wonderful Australian women artists of last century. All are depictions of scenes around Sydney Harbour. In-curve is inspired by Grace Cossington Smith’s The Bridge in-curve, a depiction of an unfinished Sydney Harbour Bridge, painted in 1930 The Code is inspired by Thea Proctor’s woodcut print Women with fans. It is thought to be a portrait of two other artists, printmakers Ethel Spowers and Eveline Syme, sitting above Rushcutters Bay. Where would we sail? is inspired by a very different view of the same location Still life and Rushcutters Bay by Margaret Olley.

Choral Choir (SATB divisi) - Level 3 - Digital Download SKU: A0.841250 Composed by Chris Gordon. Contemporary. Octavo. 18 pages. Cool Wind Music Digital #3029087. Published by Cool Wind Music Digital (A0.841250). A setting of a very powerful poem by English poet, Ted Hughes, about the onset of autumn in an English (Yorkshire) garden and the surrounding countryside.  It is full of pathos and passion, harmony and dissonance, chaos and peace - just like English weather!This is a very individual and innovative choral setting of Hughes' poem which is, itself, rich in 'meaty' metaphor and colour - and the composer is a vegetarian! It evokes a savage Nature within a savage landscape where humans and animals compete for space and for food. It is October, the fields and woods and gardens of rural Yorkshire are readying themselves for the cold and desolation (and despair) of winter which isn't far away in time. 'A glass, half-filled with wine, left out(side) To the dark heaven all night, by dawn Has dreamed a premonition of ice across its eye as if the ice-age had begun its heave.'   That is only two and a half stanzas but you see from these lines that there are veiled threats of (Nature's) violence in the heavy tread of the poet's slowly-building angst over what is happening in the surrounding countryside - and his fear grows, and his awe grows, with every line. There is even fear underlining the very last line: 'And now it is about to start.' Winter is creeping closer and closer towards the house and it will not be pleasant to experience!I have tried to instil a little of this in the music which keeps skidding from consonance to dissonance and back to consonance. Sometimes the dissonance piles up, like snow driven by the wind piles up into deep banks; sometimes the music relaxes into stillness and calm (painted in tonal music) like a crisp, mild late autumn or early winter's day when the sun warms the landscape and life appears bearable, tolerable. I hope this adds to the song's 'charm'. It wasn't easy to write: sometimes the right music was elusive. The music ends with the word 'October' repeated three times, with voices overlapping in a little canon. This conjures up the wistful feelings of the poet as he looks out onto a peaceful scene, soon to be filled with all manner of 'natural violence', while his inner peace will soon be shattered by the mayhem about to be unleashed around him.Setting Ted Hughes is no easy task. It is for choirs and choirmasters to judge if I have succeeded in conveying the 'sense and sensibility' of a classic 20th century English poem.The price is for one copy: please purchase a sufficient number of scores if you intend to perform this work. SMP Press offers discounts for multiple-copy purchases.

Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.1173633 Composed by Pasquale Cafaro. Arranged by Nicole Elyse DiPaolo. Classical,Early Music,Opera. Score. 7 pages. Nicole Elyse DiPaolo #773780. Published by Nicole Elyse DiPaolo (A0.1173633). Accessible Accompaniments is proud to present the first-ever modern-clef performing edition of Pasquale Cafaro’s once enormously popular aria, “Belle luci, che accendete,� from La disfatta di Dario (1756). As noted in Giorgio Sanguinetti’s The Art of Partimento and other sources, this aria was considered the ideal Galant-era (early Classical) example of aria writing in its day, and its theme was even painted onto pottery to be sold to tourists in Naples.While the aria was written for a castrato role, Alessandro, it is ideal for today’s young lyric coloratura sopranos who want to prepare for Mozart roles but wish to wait until they’ve found their mature vocal technique before tackling those roles. Additionally, because this La disfatta di Dario setting is a rarity and singers are unlikely to be hired for this role, it could be sung in transposition by young mezzos and other fachs without causing logistical issues like the need to produce orchestral parts in new keys.Other aspects of this aria that make it a welcome addition to the voice teacher’s library are its widespread orchestral doubling of the vocal line (something that will help students who are still working on intonation and support), its relatively short, Italian-language text for easy memorization and diction acquisition, and its straightforward textual content—it’s a love song. In audition situations, this aria will be enjoyable for panels to hear, and because they will be very unlikely to know the aria, they won’t be able to critique it as closely as they would critique an aria they know well. It should also be sight-readable by an audition pianist of middling skill, another important consideration in choosing audition repertoire.This new edition was engraved using Bernardo Mengozzi’s piano-vocal reduction from 1804, which preserves the soprano clef voice part and is not widely usable today, and I made some corrections to missing accidentals and articulations by cross-checking with the manuscript full score. Both are available at imslp.org. I also write out the appoggiatura executions and one potentially confusing polyrhythm on ossia staves to assist young singers/collaborative pianists who haven’t done much of this repertoire.Range: Eb4-Bb5 without ornamentationTessitura: around Bb4-F5/G5   Text:Belle luci, che accendeteIn quest' alma un dolce foco,Siete voi, e voi sareteLa mia calma, e il mio piacer.Sì, la calma, e il piacer mioTutto, e sempre in voi s'aggira,Per voi solo il cor respira,Nè più brama il mio pensier.About the Arranger behind Accessible Accompaniments Editions:Praised as a sensitive pianist and outstanding accompanist who delivers powerful interpretations, Nicole Elyse DiPaolo enjoys a multifaceted career as a sought-after collaborative pianist, educational composer, arranger, coach, private teacher, and adjunct music professor. Currently based in the Cleveland area, Ms. DiPaolo has appeared as a concerto soloist with the Ambassador Chamber Players on multiple occasions and as a recitalist, collaborator, and presenter worldwide. Currently, Ms. DiPaolo is an online Adjunct Lecturer in Music at Indiana University; the Principal Theory Teacher at Liberty Park Music, an online-only video subscription-based music school; an invited blog contributor and guest instructor at Tonebase; and a sought-after online instructor of piano, music theory, and composition who includes partimento and historical improvisation in her curricula. For more information, please visit http://ndipaolo.musicaneo.com .

Piano Quartet,String Ensemble Cello,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.1498444 Composed by Frederick Frahm. 21st Century,Chamber,Contemporary. 37 pages. Frederick Frahm #1074742. Published by Frederick Frahm (A0.1498444). Scored in four movements for Piano Quartet (vln, vla, cello & piano)All performance parts includedDuration Approx. 14 minutesNarrative:One day, I visited an art gallery to pass the time. Yes, there were paintings of barns and soldiers and bowls of fruit. Yes, there were stuffy portraits and lavish murals and fussy assembled things. In one room, the light was more dim. A single bench sat in the center and on each of the four encompassing walls, there was a single large oblong piece. I don't remember the artist's name, couldn't possibly have been a Barnett Newman.The panels are described in this way:Panel 1: A melancholy indigo, with an orange nasturtiumPanel 2: A ensanguined scarlet fading to a blushy rosePanel 3: White lilies in a baroque golden framePanel 4: Charcoal, with a sprig of yellow daisiesThrough my eyes, I fell into each mass of color.My heart sang for their music and my soul was set adrift....

Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.767578 Composed by Mike Lyons. Contemporary. Score and parts. 81 pages. Lyons Music Services #6422239. Published by Lyons Music Services (A0.767578). These three pieces form a small suite, linked by the idea of ‘pastoral’ or rustic situations and places.   The first piece to be written now forms the middle movement, though at first it was the starting point.   This is not easy music. It travels through several keys with large numbers of sharps and flats and in places the time signature shifts constantly. The first movement is modal, being based on the mixolydian and dorian modes. I took for this movement the idea of ancient Celts celebrating a victory and dancing and getting drunk around a smoky fire. Their chieftain strikes up a song, accompanied by a double drone.   This melody is initially stated on the horn, with just two other instruments providing the accompaniment. At 4 before B, the remaining instruments join in, providing a rhythmic pulse and the melody moves to the Euphonium/Baritone/Trombone. Subtle variations shape the melody anew, leading to letter C. Here the complex overlapping rhythms provide a more dance-like feel to the music. Also, countermelodies start to appear which build the excitement.   At letter E, the music becomes louder and the rhythmic pulse more insistent (perhaps they are dancing on the tables?) The mode changes to the more major sounding mixolydian. But from here on in, the revellers are starting to wend their way home, still singing and dancing and they gradually fade into the distance. At letter G, we’re back to three players, but with the trumpet 1 playing a rhythmic melody over the top of the original tune.   The second movement is called The Aesthetes. The aesthetic movement was formed in the 19th century, but had been around before that in less formal garb. Their ideal was to emulate the Ancient Greeks and Romans – or at least their perception of what the ancients were like as found in statues, paintings and friezes. They adopted studied poses and were very effete in their mannerisms. Gilbert and Sullivan parodied the aesthetic movement in their operettas – particularly Princess Ida (but also in the Mikado and various others).   So, here is a movement with classical lines in the style of a minuet, but in 6/8 rather than ¾ so that it can be more languid. All the melodies are ‘studied’ and ‘formal’ with long, languid notes and rhythms which don’t quite fit to the beat as the aesthetes pose and ponder and languidly look, studied and pale and wan.   Because of the long notes in the melody, there’s an almost dream-like quality to the music as if they are seeing through a haze of Wormwood or Absinthe (a favourite drink of the aesthetes when they weren’t high on themselves or opiates).   The third and final movement is called The Bohemians. This was also a movement at the end of the 19th Century. Where the aesthetes were ruled by rules, the Bohemians lived by none. They were considered wild and unconventional to say the least.   The Bohemians movement owed much to the supposed free life and style of the gypsies and wanderers of Europe. Our piece starts with a gypsy violin style opening, including a cadenza, and then moves into the rapidly time shifting and gyrating gypsy dance.   This section is in alternating bars of 5/8 and 6/8 with occasional 11/8 thrown in to keep you off balance. The frantic and frenetic movement continues up to letter F where things calm down a little – but not for long as the intensity increases again from Letter H to the quite sudden ending.   This is tuneful yet challenging music which will take a lot of effort, but which will give a lot back in return.

Horn,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1024904 Composed by Justin Miller. 20th Century,Contemporary. 18 pages. Late to the Game Music #6794393. Published by Late to the Game Music (A0.1024904). I wrote Strife for a music production contest that one of my former virtual ensembles was participating in, mostly against producers of electronic dance music. The theme of this contest was struggle, and it was the summer of 2020 during one of the heights of the pandemic and during the civil unrest in Minneapolis. While these are not at all my stories to tell, I couldn't help but be moved by the collective pain we all bore witness to. The opening section of this piece captures that pain, and the second half of the piece is a wish for resolution that hasn't arrived yet.